Music 

Lib. 

MT 

75 

F23t 

v.l 


Farnsworth 
Tonal  Phrase  Book 

1 


THE  LIBRARY 
OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 

MUSIC 
LIBRARY 


TONAL 


HRASE  BOOK 


A  Systematized  Arrangement 
of  Material  for  Reading  Music 
by  its  Movement  or  Thought 


Prepared  and  Published  by 

CHARLES  H.  FARNSWORTH 
WILLIAM  J.  KRAFT 


escription  and  Sf»eed  Exercises 

VOLUME  Two.         .  net  3s 

VOLUME  THREE  net  .jfc 


net    50 


J.  FISCHER  ©  BRO.,  NEW  YORK 

7,  8,   10,   11,    Bible   House    (Astor  Place) 


COPYRIGHT,   1910,    BY  CHARLES    H.   FARXSWOKTH   AND  WILLIAM  J.   KRAFT 


UNIVERSITY  of 
AT 
LOS  ANGELES 


TONAL 
PHRASE  BOOK 


A  Systematized  Arrangement 
of  Material  for  Reading  Music 
by  its  Movement  or  Tnougnt 


Prepared  and  Published  by 

CHARLES  H.  FARNSWORTH 
WILLIAM  J.  KRAFT 


VOLUME    ONE.      Description  and  Sf>eed  Exercises        .         net 

VOLUME  Two.          .          .          .         net  .% 
VOLUME  THREE  net  .3s 


J.  FISCHER  6?  BRO..  NEW  YORK 

7,   8.    10,   11.    Bitle   Housa    (Astor  Place) 

COPYRIGHT,   Wl'J,    BY  CHARLES    H.   FAKNSWOBTH  ANL)  WILLIAM  J.   KEAFT 


MT15 
F  2.3  t 


TONAL  PHRASE  BOOK 

A  Systematized  Arrangement  of  Material  for  Reading  Music 
by  its  Movement  or  Thought 


Vol.   I 


AN    INTRODUCTORY    DESCRIPTION 


and 


SPEED  EXERCISES  IN  NOTATION 

with 

QUESTIONS  AND   ANSWERS  FOR  TEACHERS 


THE  NEED  OF  SUCH  WORK 

It  will  help  to  understand  the  nature  and  purpose  of  the  work  offered 
for  practice  in  music  reading  if  attention  is  first  drawn  to  the  need  of  a  more 
accurate  and  speedy  way  of  learning  the  use  of  notation.  No  one  would  have 
thought  that  a  great  European  war  would  have  stimulated  singing  in  this  country 
and  yet  the  thousands  of  gatherings  that  have  used  the  simple  song  folders  for 
singing  testifies  to  this  effect.  But  the  influence  for  singing  that  the  war  created 
must  necessarily  diminish  with  the  diminution  of  the  desire  for  united  expres- 
sion that  the  war  stimulated. 

If  music  is  to  continue,  it  must  do  so  on  the  strength  of  its  own  attractive- 
ness. Community  singing  which  had, its  start  before  the  war,  is  a  movement 
which  has  grown  out  of  the  pure  attractiveness  of  music  itself.  But  in  order 
to  accomplish  results  it  is  found  necessary  to  put  into  the  hands  of  the  singers 
something  more  than  the  mere  folders  with  the  words  of  the  songs.  Part 
singing  must  be  attempted  and  to  accomplish  this,  the  notation  is  essential. 
Hence,  community  music,  while  inviting  everyone  to  come  and  sing  whether 
they  read  music  or  not,  has  depended  on  printed  music  for  accomplishing  its 
results.  It  has  been  able  to  do  this  where  people  have  no  knowledge  of  the  notes 
for  the  same  reason  that  the  imitative  singing  of  the  war  camps  has  been  so 
successful,  namely:  that  there  is  a  musical  faculty  in  almost  everyone.  Its 
simplest  expression  is  the  ability  to  catch  a  tune  after  hearing  it  once  or  twice. 
Its  slightly  higher  manifestation  is  the  ability  to  catch  a  part  when  there  is 
an  accompaniment  and  others  singing  on  the  part.  This  has  made  it  possible 
in  community  music  to  include  a  large  proportion  of  nonmusic  readers  and  yet 
to  handle  simple  part  work  without  much  difficulty. 


It  will,  however,  be  admitted  that  the  attractive  power  of  music  over  a 
community  will  be  in  the  degree  that  its  members  will  be  able  to  supplement 
their  instinctive  feeling  for  harmony  by  at  least  a  rudimentary  knowledge  of 
its  notation.  The  practical  question  then,  is  this,  if  we  are  to  conserve  the 
general  musical  stimulation  that  already  had  shown  itself  before  the  war  started, 
and  which  has  been  so  vigorously  accelerated  by  it,  we  must  present  some  method 
of  learning  the  notation  that  will  be  more  economical  of  time  and  effort  and  give 
quicker  results  to  the  student,  whether  the  student  is  a  member  of  a  com- 
munity chorus  or  studying  music  in  the  grades  of  the  schools.  The  speed 
work  and  phrase  reading  offered  in  the  following  books,  is  a  contribution  towards 
accomplishing  this  desired  result.  While  the  two  types  of  work  offered,  speed 
exercises  in  notation,  and  tonal  phrases,  are  here  described  together,  they  are 
independent  of  each  other;  each  serving  a  separate  end  in  teaching  the  reading 
of  music. 

SEPARATION  OF  THE  EYE  AND  EAR  PROBLEMS 

Reading  music  from  notes  is  a  combination  of  two  distinct  functions. 
One  is  visual  and  the  other  is  oral.  The  visual  has  to  do  with  a  knowledge  of 
the  notes  on  the  staff;  the  oral,  with  tone  differences  in  pitch  and  duration. 
The  union  of  these  two  results  is  a  complex  problem  for  all  but  musical  people. 
Guido  Arezzo,  in  the  eleventh  century,  solved  this  problem  in  pitch  for  Pope 
Silvester  by  using  a  system  of  nemonics,  or  memory  syllables,  that  bridged  the 
distances  between  what  was  seen  and  what  was  to  be  heard.  He  associated  the 
notes  with  a  tune  for  the  protection  of  the  throat  of  the  singer.  The  syllables 
served  two  purposes,  indicating  the  notes  for  the  eye  and  at  the  same  time 
suggesting  the  pitch  relationships  for  the  ear.  This  educational  device  has, 
curiously  enough,  persisted  through  nearly  nine  centuries  and  appears  now  in 
our  syllable  names,  or  "do,  re,  mi's."  There  must  be  some  vital  necessity  for  such 
a  device,  or  it  would  not  have  persisted  for  so  long. 

The  strenuous  opposition  which  has  been  shown  to  the  syllable  names  has 
grown  out  of  the  fact  that  the  effort  to  learn  them  has  either  failed  to  accomplish 
its  end  or  cost  more  than  it  was  worth.  This  has  been  due  to  the  fact  that 
the  eye  and  ear  problems,  entirely  different  in  their  nature,  have  been  attempted, 
generally,  simultaneously,  thus  complicating  the  problem.  The  plan  here  sug- 
gested in  the  speed  work  is  to  treat  the  eye  problem  with  the  association  of 
the  syllable  names  as  a  purely  intellectual  process,  entirely  independent  of  the 
purpose  for  which  we  wish  to  use  it  later.  Thus  by  eliminating  the  visual  com- 
plications, by  mastering  them  independently,  we  are  left  free  to  make  the  necessary 
tonal  relationships  when  we  come  to  this  aspect  of  the  work. 

The  necessity  for  first  mastering  the  visual,  grows  out  of  the  fact  that 


the  tonal  relationships,  unlike  the  visual,  cannot  be  learned  as  isolated  facts. 
Single  tones,  intervals,  or  chords,  get  their  significance  in  their  progression  and 
to  learn  them  we  must  learn  them  in  motion  or  in  groups.  If  we  do  not  know 
thoroughly  the  signs,  it  stands  to  reason  this  group-grasping-  of  the  notes  that 
oral  thinking  requires,  becomes  impossible.  It  is  this  fact  that  has  made  our 
teaching  of  sight-reading  so  difficult.  One  advantage  of  doing  the  visual  work 
in  the  manner  that  the  speed  exercises  require,  is  that  the  work  can  be  done  in 
class  entirely  from  dictation,  each  pupil  having  a  definite  result  to  show  of 
what  he  can  do  in  a  given  time  allowance.  This1  could  not  be  done  under  class 
conditions  if  the  learning  of  the  tone  relationships  was  combined  with  that  of 
the  notation.  After  the  notation  is  mastered  so  that  it  can  be  used  with  the 
necessary  speed,  the  attention  is  free  to  follow  the  demands  of  the  tonal  side 
of  the  work. 

THE  EYE  PROBLEM.     SPEED  EXERCISES  IN  NOTATION 

The  speed  exercises  in  notation  are  intended  as  a  preliminary  "warming  up" 
for  any  form  of  music  reading  where  there  is  any  uncertainty  among  the  pupils 
as  to  the  meaning  of  the  notes,  or  lack  of  sufficient  speed  in  their  use.  The 
great  need  of  such  work  will  be  realized  when  we  consider  that,  due  to  the  lack 
of  notation  knowledge,  a  large  part  of  the  singing  done  by  the  majority  of  the 
class,  has  little  value  in  training,  because  the  few  musical  pupils  in  the  class 
lead  the  rest.  If,  however,  the  whole  class  knew  accurately  the  notation  names, 
they  might  be  gaining  valuable  practice  in  forming  correct  associations  with 
pitch  and  duration  differences,  even  though  they  were  following  the  leaders  as 
far  as  the  tone  is  concerned.  Without  notation  knowledge,  such  following, 
which  after  all  is  a  very  large  part  of  the  average  school  singing,  is  fruitless,  \ 
because  of  the  difficulty  of  forming  tonal  associations  when  the  student  is  un- 
certain as  to  what  the  notation  is. 

The  same  principle  applies  to  rote  or  imitative  singing.  Many  songs  are 
taught  more  or  less  this  way  because,  though  too  difficult  for  the  grade  to  read, 
they  have  to  be  learned  for  some  special  occasion.  All  such  singing  could  be 
made  valuable  for  teaching  reading  if  speed  drill  in  notation,  especially  in  the 
keys  of  the  songs  used,  was  first  given,  making  it  clear  to  the  teacher  that  every 
one  in  the  class  had  this  basic  knowledge  to  start  with.  Especially  is  this  true 
with  classes  into  which  pupils  have  come  who  have  not  the  same  extent  of  musical 
knowledge  as  the  majority  of  the  class,  and  who,  because  of  their  inability  to  ./ 
get  this  fundamental  start  in  the  notation  knowledge,  are  unable  to  profit  by  the 
tonal  experiences  they  are  having  in  following  the  class. 

But,  this  is  not  the  most  valuable  aspect  of  speed  work.     Students  are  often 
able  to  tell  the  notation  accurately,  but  not  rapidly  enough  to  be  of  much  use 

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in  singing  because  the  movement  of  the  music  gives  no  time  to  stop  and  think. 
Speed  drill,  by  a  systematic  reduction  of  time  for  answers,  makes  the  notation 
knowledge  automatic,  leaving  the  attention  free  for  the  more  difficult  problems 
involved  in  grasping  the  movement  of  the  music.  Speed  work  may  be  used  in 
connection  with  phrase  reading  as  an  occasional  test,  especially  when  the  range 
of  notes  and  variety  of  keys  used  may  make  it  difficult  for  some  pupils  to  acquire 
the  requisite  notation  speed. 

NATURE  OF  THE   SPE.ED  EXERCISES 

Five  aspects  of  pitch  notation  are  taken  up : 

1.  Names  of  the  lines  and  spaces  of  the  staff.     Type  of  question:    Locate 
on  the  G  clef,  A;  D  high;  F  low.     Answer:    Writing  a  note  on  the 
second  space ;  fifth  line ;  first  space. 

2.  Tell  the  Key  note  from  the  Signature.    Type  of  question :  Locate  Key 
note  in  major  on  the  G  clef  when  the  signature  is  three  sharps;  two 
flats.     Answer :  Writing  a  note  on  the  second  space ;  third  line  with  a 
flat  before  it. 

3.  Write  the  Signature  when  the  Key  name  is  given.     Type  of  question: 
Place  the  signature   for  the   following  major  keys,   G;   E.     Answer: 
Writing  signature  for  one  sharp ;  four  sharps. 

4.  Place  of  the  notes  in  relation  to  the  key  notes.     Type  of  question: 
Locate  in  the  key  of  F  re,  low;  mi;  la;  high.     Answer:    Writing  a 
note  on  the  second  line ;  second  space ;  fourth  line. 

5.  Write  the  signature  when  other  notes  than  the  key  note  are  given. 
Type  of  question :  Write  the  key  signature  when  sol  is  on  B  flat ;  when 
mi  is  on   G  sharp.     Answer :  Writing  the   signature   for  three  flats ; 
four  sharps. 

ORDER    OF   PROCEDURE 

The  questions  are  arranged  in  groups  of  twenty  to  be  answered  by  writing 
circular  note  heads  on  the  proper  line  or  space;  or  the  signature,  as  required  by 
the  question.  The  paper  upon  which  the  answers  are  written  is  divided  into 
twenty  spaces.  When  the  first  series,  for  instance,  is  taken  up,  the  naming  of 
the  lines  and  spaces  of  the  staff,  the  teacher  establishes  a  rhythm,  say  of  three 
or  four  taps  at  the  rate  of  about  one  a  second  (taking  a  watch  for  this  purpose 
if  a  metronome  is  not  handy),  and  reads  off  the  questions  at  a  regular  rate  of 
so  many  counts  for  each,  the  student  writing  one  note  in  each  space  and  skipping 

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the  spaces  that  he  is  not  able  to  write  in  quickly  enough.  In  a  little  over  a  minute 
the  entire  twenty  questions  can  be  asked  and  written.  If  four-fifths  of  the 
class  fall  below  seventy-five  per  cent  of  getting  them  correctly,  the  speed  is  prob- 
ably too  fast  for  the  class. 

A  few  tests  will  tell  the  rate  at  which  the  work  should  be  done  and  the 
student  should  be  encouraged  to  see  how  soon  he  can  increase  the  speed  without 
sacrificing  accuracy.  Interest  can  be  given  to  such  work  if  the  device  of  spelling 
matches  is  resorted  to ;  one-half  of  the  class  against  the  other,  or  the  boys  against 
the  girls.  There  is  always  an  interest  in  seeing  how,  in  successive  tests,  one  can 
lower  his  own  record.  The  same  plan  is  pursued  with  the  other  four  heads. 
Except  where  the  question  requires  the  writing  of  the  signature,  there  should  be 
an  increase  in  the  number  of  seconds  allowed  with  the  number  of  sharps  or  flats 
to  be  written.  If  three  seconds  were  given  for  thinking  and  writing,  say  two 
flats  or  two  sharps,  another  second  should  be  added  if  three  are  called  for  in 
the  signature,  and  so  on.  With  reference  to  the  position  of  intervals  in  the  key, 
the  time  allotments  could  be  the  same  for  all.  It  will  be  observed  that  in  all 
this  work  the  point  is  getting  the  answers  in  the  shortest  amount  of  time  possible. 
A  few  trials  will  make  a  marked  difference  in  the  ability  of  the  pupil. 

The  point  of  the  above  work  comes  in  requiring  answers  to  be  given  so 
rapidly  that  the  student  will  be  forced  to  know  what  each  sign  calls  for  without 
taking  time  to  think  it  out.  For  insance,  when  a  student  sees  a  note  on  the 
third  space  with  the  signature  of  three  sharps,  he  will  not  have  to  take  time  to 
reckon  where  "do"  is  in  three  sharps  and  then  reckon  up  the  relationship  of  the 
third  space  to  "do."  He  should  be  able  to  think  the  relationship  of  all  this  no- 
menclature instantly  before  he  can  start  on  the  tonal  effect  that  the  note  repre- 
sents. The  method  of  procedure  takes  for  granted  that  the  student  has  already 
had  some  knowledge  of  all  these  signs,  and  what  he  needs  is  speed  in  their  use. 

DIFFERENCE  BETWEEN   RHYTHMIC  NOTATION  AND   THAT   OF   PITCH 

The  mechanism  of  notation  with  reference  to  rhythm  is  fairly  simple  and 
constant.  The  relationships  always  remain  the  same  whatever  the  key  and  when 
the  distinctions  between  quarters,  halves,  eighths,  and  the  like,  are  once  grasped 
and  the  time  effect  of  these  distinctions  in  relation  to  the  beat  is  felt,  the  mech- 
anism of  the  notation  gives  little  difficulty.  But  when  we  come  to  the  pitch 
notation,  the  change  of  key  keeps  introducing  new  points  from  which  the  rela- 
tionship of  the  tones  is  to  be  thought.  This  shifting  of  the  key  note  presents 
similar  tonal  effects  in  unlike  aspects,  thus  causing  confusion.  Hence,  the  speed 
work  plan  has  to  do  only  with  the  pitch  aspect  of  notation. 


ADVANTAGES    OF    SPEED    WORK 

The  advantage  of  this  form  of  work  is  that  each  student  is  answering  for 
himself  and  makes  a  record  which  shows  where  he  stands  and  the  progress  he 
makes.  The  ordinary  way  in  which  these  facts  are  learned  in  connection  with 
the  singing  makes  it  possible  for  one  or  two  in  the  class  to  give  the  information 
to  all  the  others.  In  this  way,  students  go  through  the  eight  years  of  public 
school  music  and  are  unable  to  answer  some  of  these  fundamental  questions 
correctly.  To  do  this  mechanical  work  in  connection  with  the  tone  work  prevents 
them  from  being  done  intensively  enough,  for  the  attention  is  so  much  occupied 
with  the  tonal  side.  Separating  the  processes  makes  it  possible  to  do  in  a  few 
weeks  what  is  not  ordinarily  done  in  eight  years. 

There  are  some  who  object  to  this  work  as  lacking  content.  It  does  so, 
much  in  the  same  way  as  a  spelling  lesson  does,  or  learning  the  multiplication 
table.  There  is,  however,  a  greater  objection  raised  against  the  doing  of  any 
such  work  in  connection  with  music  for  the  reason  that  so  many  feel  that  music, 
above  all  things,  should  appeal  to  feeling  and  cultivate  an  emotional  approach. 
But -if  we  are  to  have  any  intelligent  thought  in  connection  with  music,  some 
means  for  defining  that  thought  is  essential  and  the  most  practical  way  of  acquir- 
ing that  definition  is  through  its  notation. 

While  we  can  get  immense  benefit  from  music  without  knowing  anything 
of  its  notation,  it  would  seem  unfortunate  to  allow  children  to  go  through  the  school 
and  not  give  them  at  least  an  opportunity  to  try  themselves  so  that  those  who 
have  the  desire  may  have  the  possibility  of  getting  an  insight  into  music,  an 
accomplishment  which  can  only  be  gained  effectively  at  this  early  age.  It  is 
also  worth  while  to  give  a  rudimentary  knowledge  of  notation  to  all  children 
so  that  it  will  be  possible  for  them  to  carry  on  effective  chorus  work  not  only 
for  the  social  life  of  the  school  but  for  the  benefit  of  the  community  after  school 
days  are  over. 

If  this  definition  of  music,  through  its  notation,  is  approached  in  a  logical 
way  it  need  take  but  a  small  fraction  of  the  actual  singing  time  and  the  advan- 
tages it  gives  in  quickening  the  mind  in  relation  to  tone  and  stimulating  intelligent 
listening  are  certainly  worth  while.  Hence,  a  moderate  amount  of  this  intensive 
speed  drill  will,  in  the  long  run,  more  effectively  carry  on  the  very  aims  of  those 
who  object.  The  amount  done,  should  be  determined  by  the  need  of  the  class 
in  relation  to  what  they  have  to  do. 

THE  EAR  PROBLEM. 
RELATION  BETWEEN  LANGUAGE  AND  PHRASE  READING 

The  problem  of  the  Tonal  Phrase  Book  is  to  induce  the  student  to  read 
music  by  phrase  rather  than  by  intervals  of  pitch  and  duration.  The  problem 

6 


is  parallel  to  that  incurred  in  reading  language.  The  hesitating  reader  does  not 
think  of  the  thought  of  the  sentences  but  mentally  pronounces  each  word  as  he 
comes  to  it  and  discovers  the  meaning  of  the  sentence  at  the  end  of  the  process. 
This  was  the  old  method  of  teaching  reading,  which  commenced  first  by  learning 
letters  and  combining  them  into  syllables  and  words.  The  method  that  is  now 
being  uniformly  followed  in  the  best  schools,  is  to  induce  the  child  to  think  of 
the  sense  of  what  he  is  to  read  before  attempting  to  deliver  it.  The  material 
taken  for  this  purpose,  is  sentences  consisting  of  groups  of  words,  familiar  to 
the  pupil  so  that  if  he  gets  a  clue  to  one  or  two  of  the  words  he  easily  thinks 
of  the  rest.  Not  being  familiar  with  the  spelling  out  process  he  is  naturally 
thrown  upon  himself  as  to  what  the  group  means  as  a  whole ;  that  is  to  discover 
the  thought.  He  is  often  helped  by  the  use  of  rhythmic  lines  like  the  Mother 
Goose  Jingles  whose  form  and  grouping  of  words  are  definitely  in  his  mind. 
Not  only  this,  but  pictures  are  frequently  used  to  suggest  the  topic.  To  see  how 
this  same  principle  may  be  applied  to  reading  music  it  will  be  well  to  consider 
what  the  notation  of  music  tells  us. 

WHAT  THE  NOTATION  IN  MUSIC  TELLS  US 

The  notation  of  music  represents  tones  in  two  kinds  of  dimensions,  or  in 
two  planes,  the  one  horizontal,  the  other  vertical.  The  horizontal  is  the  rhythmic, 
the  way  the  tones  succeed  each  other  with  reference  to  duration  and  accent;  and 
the  vertical  is  the  difference  in  pitch,  the  way  the  tones  are  separated  from  each 
other  up  and  down.  The  mind  in  thinking  these  tones  one  after  the  other,  must 
necessarily  traverse  a  curve  of  motion.  To  think  these  curves  intelligently  a 
sufficient  number  of  measurements  must  be  given  to  produce  a  feeling  of  motion 
and  yet  too  many  must  not  be  given  or  the  mind  will  be  unable  to  relate  them 
all.  Hence,  the  motion  of  music  breaks  up  into  an  infinite  variety  of  small  curves 
of  motion,  or  movements.  Musically,  the  smallest  possible  number  of  measure- 
ments that  make  any  sense  would  be  called  a  motive,  and  the  organic  group- 
ing of  two  motives  present  a  phrase.  The  phrase  thus  becomes  the  unit  of 
rational  musical  movement  or  thought. 

MOTION  CURVE  THE  UNIT  IN  READING  MUSIC 

As  in  language  certain  words  and  forms  of  expression  are  constantly  re-  ^~7 
curring,  so  in  music,  certain  elementary  motions  indicated  by  certain  pitches 
and  durations,  keep  recurring  over  and  over.  If  the  pupil  attempts  to  think 
motion  by  going  from  note  to  note  he  will  be  spelling  out  his  motion,  so  to  speak, 
much  in  the  same  way  as  the  pupil  who  attempts  to  read  by  going  from  letter 
to  letter  to  establish  the  thought.  The  vital,  essential  thing  in  reading  both 
language  and  music,  is  that  the  mind  is  to  go  ahead  of  the  voice,  grouping  a 

7 


sufficient  number  of  the  factors  presented  to  the  eye  to  grasp  the  thought  in 
language  or  the  curve  of  motion  in  music,  before  the  voice  is  called  upon  to 
produce  the  successive  sounds. 

Obviously,  to  present  to  the  beginner  in  music  reading  a  series  of  notes,  each 
one  representing  two  distinct  kinds  of  measurement  and  to  expect  him  to  conceive 
of  the  resulting  motion  from  putting  these  measurements  together,  would  be 
doomed  to  failure.  If,  however,  we  should  limit  the  tones  to  the  smallest  number 
possible  and  yet  present  musical  thought,  and  then  in  this  field  so  arrange  the 
material  that  one  type  of  measurement,  that  of  pitch,  should  follow  an  easily 
remembered  formation,  we  should  have  a  series  of  variations.  It  would  be 
possible  to  introduce  sufficient  variety  in  the  rhythmic  aspect  of  these  variations 
to  produce  genuine  musical  motion.  The  reason  for  this  emphasis  on  rhythm 
rather  than  on  pitch,  for  expressing  the  motion,  is  the  fact  that  it  is  possible 
to  suggest  fairly  definite  motion  forms  in  rhythm  even  without  any  change  in 
pitch.  But  the  reverse  is  not  true. 

This  simplification  of  the  pitch  rather  than  of  the  rhythm  is  the  reverse  of 
that  which  is  ordinarily  followed,  the  reason  for  which  should  be  carefully  noted. 
Putting  the  emphasis  on  the  pitch  substitutes  for  a  sense  of  musical  motion  or 
progress  a  succession  of  consecutive  intervals  up  and  down,  and  produces  a 
mode  of  music  reading  similar  to  language  reading  through  the  pronouncing  of 
the  successive  letters.  This  is  the  very  kind  of  reading  we  wish  to  avoid  as 
far  as  possible.  So  much  for  the  problem. 

We  will  now  explain  how  such  thinking  is  induced  by  the  correct  use  of 
the  Tonal  Phrase  Book.  This  is  accomplished  partly  by  the  way  the  material 
is  limited  and  arranged,  and  partly  by  the  way  it  is  studied.  The  arrangement 
for  Book  One  will  be  considered  first.  The  following  outline  of  the  material 
will  show  its  characteristic  features  clearly. 

TABLE   SHOWING   ARRANGEMENT    OF   MATERIAL    FOR    BOOK    1 

A.     Phrases  on  three  degrees  consisting  of  the  key  tone,  the  tone 

below  and  the  tone  above  256  in  all 

I.  Simple  Meter,  96  Phrases,  pages  2,  3,  4  and  5 

a.  Two  measure  phrases  limited  to  stepwise  movement     48    "    " 

1.  First  Problem,  Page  2,  upper  half. 

With  evenly  divided  beats  only,  24  Phrases. 
a'  Four  types  of  pitch  movement.    The  first 

phrase  in  each  of  the  first  four  bars, 
b'  Six  types  of   rhythmic  movement.     The 
first  bar. 

2.  Second  Problem,  Page  2,  lower  half. 
With  unevenly  divided  beats,  24  Phrases. 
Otherwise  as  1  above. 

8 


Review  Work 
Phrases 
with  longer 


3.  Third  Problem: 

Two  measure  phrases  with  skips,  pages  4  and  5    48    in  all 
Otherwise  as  1  and  2  above, 
b.  Four  measure  phrases : 

1.  Four    measure    phrases    limited    to    stepwise 
movement  32    "    " 
Otherwise   essentially   as   a,    1    and  2   above. 

2.  Four  measure  phrases  with  skips 


Otherwise  essentially  as  3  above  32 

II.  Compound  Meter,  96  Phrases,  Fourth  Problem : 

a.  Two  measure  phrases,  except  for  meter,  as 
1  and  2  above 

b.  Two  measure  phrases,  except  for  meter,  as 

3  above  48 

c.  Four  measure  phrases,  except  for  meter,  as 

b,  1  above  32 

d.  Four  measure  phrases,  except  for  meter,  as 

b,  2  above  32 

B.  Phrases  on  four  degrees,  consisting  of  the  key  tone,  the  tone 
below  and  two  tones  above. 

Otherwise  as  A  above. 

C.  Phrases  on  five  degrees,  consisting  of  the  key  tone,  the  tone 
below  and  three  tones  above. 

Otherwise  as  A  above. 

DESCRIPTION   OF   OUTLINE   OF   MATERIAL 

It  will  be  observed  that  capital  A,  B,  and  C,  refer  to  the  number  of  tones 
to  be  used  in  each.  For  instance,  A  consists  entirely  of  phrases  based  on  three 
tones,  B  on  four,  and  C  on  five.  The  sequence  is  carried  on  in  the  other  books 
until  the  octave  is  reached  when  the  relationship  of  the  tonic  to  the  tones  is 
changed,  and  instead  of  being  in  the  center  of  the  group  it  is  at  the  extremes. 
This  permits  the  use  of  many  chord  passages  that  were  not  possible  in  the 
earlier  groups. 

Turning  to  A,  it  will  be  seen  that  Roman  II  is  a  repetition  of  Roman  I, 
with  but  one  metrical  difference,  that  the  pulse  instead  of  being  simple,  divided 
on  the  basis  of  two,  is  compounded,  divided  on  the  basis  of  three.  This  one 
aspect  is  the  only  problem  that  comes  to  the  pupil,  with  which  he  is  not  entirely 
familiar  already. 

Taking  up  Roman  I,  it  will  be  observed  that  Arabic  3  is  identical  with  Arabic 
1  and  2  with  but  one  exception,  that  instead  of  the  tones  always  succeeding  each 
other  stepwise,  in  3  there  is  the  recurrence  of  a  skip  in  every  phrase.  If  the  pupil 

9 


has  learned  1  and  2  thoroughly,  in  3  he  has  a  chance  to  review  the  whole  thing 
with  but  this  one  added  element  to  consider. 

Taking  now  small  (a)  by  itself  we  shall  find  that  in  comparing  Arabic  1 
and  2,  that  two  is  a  repetition  of  one,  except  for  the  fact  that  where  quarters 
and  eighths  follow  each  other  in  2,  the  dotted  quarter  followed  by  eighths  and  the 
dotted  eighth  by  sixteenths  takes  the  place  of  even  quarters  and  eighths.  If 
the  pupil  has  learned  1,  thoroughly,  in  2  he  has  to  consider  only  this  one  aspect 
in  order  to  repeat  the  entire  material  correctly. 

Turning  now  to  (a')  and  (b')  under  Arabic  1,  it  will  be  seen  that  there  are 
four  types  of  pitch  movement  and  six  types  of  rhythm  movement.  Under  the 
term  rhythm  we  are  including-  both  the  metrical  and  the  durative  aspects  of 
the  tones.  If  the  pupil  can  memorize  the  four  types  of  pitch  movement  (and 
these  are  so  arranged  under  each  other  that  the  matter  needs  but  a  few  moments 
attention),  he  can,  by  looking  at  the  six  types  of  rhythm  movement,  produce  the 
entire  twenty-four  phrases  without  the  necessity  of  even  having  them  written 
for  him.  This  then  is  the  first  problem  and  the  foundation  work  of  all  that 
follows. 

If  the  right  mode  of  procedure  is  followed  in  these  most  elementary  forms, 
all  the  rest  can  be  attained  simply  by  paying  attention  to  the  single  new  problem 
in  connection  with  which  all  the  familiar  old  material  is  repeated.  For  instance, 
the  second  problem  repeats  the  first  problem  except  for  the  unevenly  divided 
beats.  The  third  problem  repeats  all  that  has  preceded  except  that  the  interval 
of  a  skip  occurs  with  the  stepwise  movement.  And  problem  four  repeats  all  the 
previous  work  except  that  the  pulse  is  compound  instead  of  simple.  Thus  it  will 
be  seen  that  when  the  pupil's  mind  has  fully  grasped  the  nature  of  the  work 
under  problem  one,  the  four  types  of  pitch  movement  and  the  six  types  of 
rhythm  movement,  he  has  in  his  mind  most  of  the  factors  necessary  to  tell 
instantly  the  nature  of  the  phrase  he  sees.  If  now  the  pupil  is  required  to  sing 
any  phrase,  after  glancing  at  it  once  and  then  not  being  allowed  to  have  the 
eyes  rest  upon  it  while  singing  it,  he  is  automatically  obliged  to  form  a  phrase 
or  group  concept  of  what  he  is  to  do,  for  obviously  it  would  be  too  difficult  to 
remember  the  successive  intervals  of  pitch  and  duration  as  separate  units. 

Before  taking  up  the  description  of  how  this  material  should  be  studied, 
attention  is  drawn  to  headings  1  and  2  under  (b),  entitled  "Review  work  with 
longer  phrases."  These  heads  simply  present  the  same  problems,  demanding 
merely  greater  capacity  to  group  what  is  seen.  They  are  primarily  for  reading 
purposes  and  as  the  number  of  notes  included  in  the  phrases  are  increased,  these 
sections  are  made  up  of  selected  material  that  fits  in  with  the  number  of  notes. 
The  student  is  thus  given  practice  in  transferring  his  ability  for  phrase  reading 
from  the  artificially  arranged  order,  in  which  the  thing  becomes  quite  easy,  to 

10 


the  ordinary  material  that  he  will  have  to  meet  in  singing  songs.  This  completes 
the  description  of  the  arrangement  of  material  for  Vol.  I,  which  covers  captions 
A,  B,  and  part  of  C.  The  remaining  books  go  on  with  the  exercises  in  a  con- 
tinually extending  range  of  tones.  While  the  rhythmic  elements  that  are  used 
are  practically  the  same,  the  rigid  classification  of  the  first  volume  is  not  so  closely 
adhered  to,  the  skill  gained  in  Vol.  I  being  sufficient  to  make  it  possible  for 
the  student  to  apply  the  same  principles  with  freer  arrangement  of  material. 

THE  WAY  THE  MATERIAL  IS  TO  BE  STUDIED 

Turning  now  to  the  method  by  which  the  work  must  be  studied,  it  will  be 
readily  granted  that  to  read  these  phrases  in  the  ordinary  way  would  be  a  foolish 
waste  of  time.  If  the  spelling  out  process  is  to  be  followed  it  would  be  much 
better  to  apply  it  to  the  ordinary  song  material  of  the  readers,  for  here  a  much 
more  artistic  material  can  be  offered  and  many  musical  gems  studied.  The  only 
excuse  for  using  such  rigidly  classified  material  is  that  by  means  of  the  classi- 
fication the  pupil's  tonal  thinking  is  so  stimulated  that  he  is  lead  to  form  habits 
of  reading  by  phrase  or  by  the  motion  of  the  music,  rather  than  in  the  ordinary 
way.  To  insure  this  phrase  thinking,  the  mode  of  procedure  is  presented  in 
four  steps. 

PROBLEM    ONE.     FIRST    STEP 

The  four  types  of  pitch  movement  should  be  written  on  the  blackboard  as 
they  are  presented  in  the  music  and  the  limitation  of  the  notes  and  the  direction 
of  the  pitch  movement  carefully  studied.  It  would  be  well  in  connection  with 
this  pitch  movement  to  establish  the  syllable  names;  do,  ti,  do,  re;  the  pitch 
names,  G,  F*,  G,  A ;  and  the  interval  names,  prime,  minor  second,  minor  second, 
major  second.  The  pupil  should  then  close  his  eyes  and  sing  any  of  the  four 
progressions  in  any  order  called  for.  With  this  he  should  also  get  familiar  with 
the  six  types  of  rhythmic  movement  that  are  carried  out  in  the  first  line  of  the 
phrase  book.  With  the  pitch  movements  in  mind,  the  pupil  should  be  able  to 
produce  any  of  the  twenty-four  phrases  under  this  head,  (a')  Arabic  1.  (See 
table  of  material.) 

It  is  not  necessary  that  the  pupil  should  memorize  the  rhythmic  types  of 
phrases  in  the  same  way  that  he  has  the  pitch.  He  must,  however,  know  just 
how  it  feels  to  commence  with  the  strong  accent  or  the  weak  accent  in  two 
part,  three  part,  or  four  part  meter,  and  have  a  vivid  feeling  for  the  pulses 
and  their  union  or  division  in  the  various  meters  presented.  To  know  this  material 
sufficiently  well,  the  average  student  should  practice  the  phrases  through,  naming 
the  pulses  rhythmically.  For  instance,  in  the  first  phrase  it  would  be  quarter. 

11 


quarter,  quarter,  dotted  half.  And  to  make  sure,  for  instance  in  the  first  phrase, 
that  he  has  the  rhythmic  grouping,  it  would  be  well  to  say,  three  part  measure, 
quarter,  quarter,  quarter,  dotted  half.  The  reason  for  making  so  many  associa- 
tions both  in  pitch  and  rhythm  will  be  appreciated  when  we  keep  in  mind 
that  these  are  the  basic  features  upon  which  all  the  rest  of  the  work  rests, 
and  that  the  requirements  of  the  second,  third,  and  fourth  steps  cannot  be 
met  unless  a  close  association  between  the  way  the  music  looks  in  notation 
mentally,  and  the  way  it  sounds,  is  first  established.  This  finishes  the  work  of 
the  first  step,  the  most  fundamental  one  of  all. 

SECOND     STEP 

In  the  second  step,  the  teacher  plays  or  sings  any  phrase  of  the  twenty- 
four  under  this  head  and  the  pupil  describes  in  words  the  notation  necessary 
to  express  the  phrase.  This  means  that  he  keeps  the  whole  phrase  in  mind, 
can  state  what  the  pitches  are,  whether  by  pitch  names,  syllable  names  or 
interval  names,  and  then  describes  the  rhythmic  notation,  as  quarter,  half  notes, 
eighths,  giving  the  signature  and  bar  marks.  This  step  guarantees  that  the 
pupil  can  see  mentally  what  he  hears. 

THIRD    STEP 

The  third  step  is  a  reverse  of  this  process  and  requires  that  the  pupil  hear 
mentally,  instantly  what  he  sees.  This  is  made  possible  by  the  extremely 
familiar  material.  The  phrase  should  be  put  on  a  card  large  enough  to  be 
seen  by  the  class  and  held  up  for  a  moment.  Then  when  it  is  out  of  sight  any 
member  of  the  class  should  be  called  on  to  reproduce  it  in  tone.  The  pupil  is 
now  singing  a  concept  of  a  complete  movement  that  he  has  already  in  mind. 
The  same  result  may  be  obtained  by  asking  the  pupil  to  look  at  some  phrase  on 
the  page  in  this  group  and  then  look  up  and  sing  it.  The  disadvantage  of  this 
procedure  is  that  the  pupil  would  be  inclined  to  give  himself  too  much  time. 
This  is  a  vital  point  because  we  wish  to  induce  the  habit  of  the  rapid  forming 
,of  a  concept  from  its  appearance  as  a  whole. 

FOURTH     STEP 

When  the  third  step  has  been  effectively  taken,  the  fourth  step  simply  checks 
up  all  of  them  and  makes  possible  a  report  from  each  one  in  the  class.  This 
is  accomplished  by  the  teacher's  dictating  a  phrase  which  each  one  has  to  write 
in  notation.  These  four  steps  complete  the  process. 

12 


PROBLEM     TWO 

The  second  problem  is  now  taken  up.  Obviously,  in  the  first  step  in  this 
problem,  there  is  little  to  do  except  observe  the  one  new  factor,  the  fractional 
pulse.  Hence  the  work  can  rapidly  proceed  to  the  second  step,  that  of  describ- 
ing what  is  heard.  When  the  teacher  is  satisfied  that  the  pupils  differentiate 
accurately  between  the  same  phrase  with  the  fractional  pulses  as  compared  with 
even  pulses,  she  is  ready  for  the  third  step,  which  is:  reading-  at  a  glance  what 
is  shown  and  finally  the  fourth  step,  the  dictation,  when  the  phrase  is  written. 
It  will  be  seen  that  if  the  first  problem  is  thoroughly  learned  the  second  one 
can  be  readily  mastered. 


PROBLEM    THREE 

In  the  third  problem  the  four  steps  are  gone  through  in  the  same  way,  the 
only  difference  between  this  and  the  first  and  second  being  the  introduction 
of  the  skip.  By  dictation  from  any  of  the  forty-eight  exercises  thus  covered, 
the  teacher  can  make  sure  that  all  the  factors  in  the  three  problems  are 
thoroughly  grasped.  The  review  phrases  for  application  in  reading  under  (b) 
1  and  2,  may  now  be  taken  up  without  any  further  preparation.  They  should 
be  read  at  sight. 

PROBLEM  FOUR 

Problem  four,  compound  meter,  will  again  take  a  little  longer  preparation 
for  the  first  step,  in  which  the  six  types  of  rhythm  should  be  particularly  noticed. 
As  the  pitch  movements  are  identical  with  what  preceded,  this  is  all  that  is 
necessary.  The  remaining  steps  simply  go  through  familiar  groupings  except 
for  the  compound  pulse  factors.  The  work  should  thus  increase  in  the  rapidity 
with  which  the  printed  material  is  covered,  making,  at  the  same  time,  greater 
and  greater  demands  on  the  use  of  previously  gained  knowledge  in  co-ordinating 
the  notation  that  the  constantly  varying  phrases  present. 

The  key  problem  is  taken  care  of  through  dictating  in  other  keys  than  the 
one  the  passage  is  learned  in  and  also  by  the  practice  that  the  heads  (b)  1  and  2 
give  with  reference  to  the  review  work  of  the  longer  phrases.  While  the 
rhythmic  problem  remains  the  same  for  the  rest  of  the  work,  the  pitch  problem 
grows  decidedly  more  difficult  with  the  extension  of  the  number  of  tones  em- 
ployed. Hence,  it  is  vital  that  Vol.  I  should  be  thoroughly  mastered  if  the 
remaining  volumes  are  to  be  performed  in  the  manner  demanded  in  order  to  make 
them  worth  while. 

13 


The  minute  phrasing  employed  is  not  intended  as  the  only  way  in  which  the 
phrases  may  be  rendered.  In  fact,  some  of  the  divisions  indicated  are  so  slight 
that  the  phrase  marks  would  almost  tend  to  mislead.  The  same  person  singing 
these  phrases  might  take  them  differently  on  different  days  and  two  persons 
would  vary  considerably  in  their  choice,  especially  on  some  of  the  phrases. 
The  idea  of  the  phrase  marks  is  to  draw  attention  to  the  fact  that  these  bits 
of  melody  are  not  to  be  delivered  mechanically  but  constantly  molded  or  modulated 
in  their  progress  so  that  there  will  rarely  be  two  notes  in  succession  that  will 
have  equal  emphasis  whether  in  stress  or  duration,  however  similar  they  may  be. 

PLACE   OF  SPEED   WORK  AND   PHRASE    READING 

This  finishes  the  explanation  of  the  phrase  reading  and  speed  work.  Atten- 
tion should  again  be  drawn  to  what  has  already  been  said  in  the  beginning  as 
to  the  place  of  this  work  in  the  total  musical  work  of  the  pupil.  While  in  a 
systematized  course  of  singing,  this  practice  for  reading  might  commence  with  the 
fourth  grade,  and  this  is  the  place  it  was  originally  planned  for  in  the  author's 
"Education  Through  Music,"  it  would  not  be  out  of  place  for  any  grade  above 
the  fourth,  where  it  is  needed.  It  has  worked  very  effectively  with  college 
students. 

While  the  fourth  grade  is  suggested  as  the  place  where  the  work  might 
be  commenced,  it  must  not  be  supposed  that  this  work  will  take  the  time  of  all 
the  singing  period.  Pretty  nearly  half  of  the  time  should  still  be  given  to  the 
practice  of  learning  how  to  sing.  The  three  heads  under  this  practice  referred 
to  will  require  that  songs  memorized  earlier  should  be  reviewed,  especially  those 
that  we  wish  the  pupil  to  remember  after  school  days.  With  the  growing  matur- 
ity of  the  pupil,  more  mature  songs  will  be  required ;  songs  that  at  the  same  time 
would  be  far  too  difficult  to  read  at  sight,  but  which  could  be  easily  learned  with 
the  use  of  the  notes,  the  aid  of  the  brighter  pupils  of  the  class,  and  an  occasional 
assistance  from  the  teacher.  The  use  of  the  notation  under  these  circumstances, 
can  only  be  utilized  in  the  intelligent  way  required  in  phrase  reading,  in  the  very 
easiest  passages.  Much  of  such  song  work  will  have  to  be  spelled  out,  as  the 
object  of  this  work  is  merely  to  get  the  music  into  the  minds  of  the  pupils,  the 
aim  of  the  practice  being  primarily  for  the  manner  of  delivery,  and  memorizing. 
Logically,  the  practice  in  learning  to  sing  should  commence  where  the  practice  in 
learning  to  read  ceases.  Ideally,  the  latter  should  precede  the  former. 

This,  however,  would  require  severe  drill  work  in  the  very  first  grades  and 
in  the  limited  time  for  practice,  would  cut  out  the  possibility  of  doing  much  in 
learning  to  sing  properly.  Thus,  not  only  would  bad  habits  of  voice  production 
and  pronunciation  have  to  be  overlooked,  but  good  ones  would  fail  to  be  formed 
in  the  most  effective  period  of  the  pupil's  life.  The  fact  that  music  lends 

14 


itself  to  such  easy  reproductions  from  merely  hearing,  makes  it  possible  to  start 
the  training  in  singing  at  the  very  beginning,  thus  assuring  simpler  work,  the 
awakening  of  a  love  and  taste  for  music,  and  the  formation  of  good  vocal  habits. 

NECESSITY  FOR  PARALLEL  SONG  WORK 

With  this  singing  experience  well  started,  a  class  of  pupils,  like  those  of  the 
fourth  grade,  who  have  reached  the  age  and  maturity  at  which  skill  in  doing 
things  has  an  interest  for  its  own  sake,  the  serious  practice  of  learning  to  read 
can  be  commenced.  And  yet  the  earlier  song  work  should  be  kept  more  or  less 
parallel  with  this  exception,  that  no  pure  rote  work  should  be  used  but  all  thex 
singing  should  be  done  in  connection  with  the  notes.)  This  gives  practice  in  asso- 
ciation between  sight  and  sound.  All  that  can  be  done  along  this  line  is  pure 
gain.  As  skill  in  the  phrase  work  is  increased,  it  should  be  applied  in  a  greater 
and  greater  degree  to  the  reading  aspect  of  the  work.  There  will  always  be 
students  whose  independent  reading  will  be  very  slight.  However,  they  will 
have  had  excellent  practice  in  singing  with  others  and  will  always  enjoy  music 
and  be  a  real  help  in  the  chorus  work  of  the  school  and  the  community  singing 
out  of  the  school. 

FURTHER  MUSICAL  KNOWLEDGE  WITH  ADVANCE  SONG  WORK 

By  the  end  of  the  sixth  grade,  the  time  when  a  large  number  of  students 
leave  the  schools,  the  pupil  should  have  a  good  repertoire  of  songs  in  memory, 
a  still  larger  number  with  which  he  is  familiar,  know  something  about  what 
it  is  to  sing  in  a  pleasing  way  and  the  fundamental  facts  of  notation,  with  drill  - 
in  its  proper  use.  By  appropriating  at  least  half  the  time  to  the  song  work, 
parallel  with  the  phrase  reading,  it  will  be  possible  to  include  in  connection  with 
it,  some  theoretical  knowledge  that  will  grow  out  of  the  song  experience  that 
cannot  very  well  be  included  under  speed  or  phrase  work;  namely,  familiarity 
with  the  minor  mode  growing  out  of  the  singing  of  minor  songs  and  knowledge 
of  the  common  forms  of  modulation,  that  is,  the  tendency  of  the  fourth  to 
become'  the  seventh  of  the  new  key  and  the  practice  in  singing  cadences.  These 
are  incidental  items  that  grow  out  of  the  song  experience  and  can  be  easily  learned 
in  connection  with  them. 

PRACTICE  FOR   PART   SINGING 

There  is,  however,  one  further  practice  that  can  be  included  in  connection 
with  the  song  work  and  this  is  learning  to  carry  an  inside  part,  based  on  the 
practice  of  singing  rounds.  The  song  work  of  the  fifth  and  sixth  grades 
should  continue  practice  in  singing  other  parts  sufficiently  to  enable  the  pupil  after 

IS 


his  voice  has  matured  to  apply  his  notation  knowledge  effectively  if  his  voice 
demands  the  singing  of  some  other  part  than  the  one  carrying  the  air. 

The  advantage  of  the  phrase  and  speed  work  is  that  it  relieves  the  class  from 
having  to  sing  exercises  and  more  or  less  uninteresting  songs  just  for  the  sake 
of  learning  to  read.  It  also  makes  it  possible  to  select  songs  purely  for  their 
beauty,  their  relation  to  school  life  and  other  studies,  as  these  songs  are  not 
needed  for  practice  in  learning  to  read. 

COMPLETE  PRACTICE  OF  MUSIC  FOR  SCHOOLS 

The  phrase  work,  through  its  organization,  its  constant  use  of  different  keys 
and  time  signatures,  gives  intensive  practice  in  the  problems  of  reading  that  is 
impossible  where  the  singing  and  reading  work  is  attempted  with  the  same  ma- 
terial. While  this  plan  implies  more  intensive  work  both  in  song  singing  and 
note  reading,  it  also  recognizes  clearly  how  each  of  these  are  parts  of  one  whole, 
and  this  whole  should  be  kept  in  mind  in  carrying  out  each  aspect  of  this  larger 
aim:  namely,  the  complete  practice  of  music  for  schools. 


16 


In  the  following  dictation  exercises  the  question  is  printed  above  the  staft 
and  the  answer  on  the  staff.  For  instance,  in  the  first  type  of  question,  "Locate 
the  following  pitches,"  the  G,  D  high,  E  low,  printed  above  the  first  three  spaces, 
are  the  questions,  while  the  notes  written  on  the  staff  below  them  are  the  answers. 
In  the  second  type,  "Locate  the  key  note  in  major  when  the  signature  is  three 
sharps,  two  flats,  or  no  sharps  or  flats,"  the  answer  will  be  the  note  written 
on  the  staff  under  these  questions.  In  the  third  type,  "Place  the  signatures  for 
the  following  major  keys"  the  name  of  the  key  is  given  as,  for  instance,  F, 
G,  E  flat ;  and  the  signature  is  written  on  the  space  below.  In  type  four,  "Locate 
in  the  key  of  (the  teacher  here  will  decide  which  key  she  is  to  use  and  insert  the 
name  and  then,  read  the  questions  above  the  brace  such  as,  mi  high ;  abbreviated 
to  m.  h. ;  re,  low;  abbreviated  to  r.  1)."  The  second  letter  will  always  be  1 
or  h,  meaning  low  or  high  on  the  staff.  In  the  fifth  type  the  seven  syllable 
names  are  presented  in  order.  Taking  the  second  one,  for  instance,  the  form  of 
the  question  will  be  "Give  the  key  signature  when  re  is  on  the  second  line, 
abbreviated  to  2  1;  on  sharp  first  space;  or  flat  third  line."  The  abbreviations 
will  be  understood.  The  answer  will  be,  writing  the  signatures.  Where  the 
F  clef  is  used  this  will  have  to  be  inserted  in  the  question. 

After  the  questions  have  been  taken  in  the  order  printed,  they  can  be 
taken  backwards  starting  with  the  twentieth  at  the  end  of  each  second  line ; 
or  they  can  be  taken  backwards  starting  at  the  first  line  and  then  at  the  second 
line ;  or  they  can  commence  with  the  fifth  question,  working  back  towards  th  • 
beginning  and  then  taking  the  sixth  question  and  working  on  towards  the  end 
of  each  brace.  The  purpose  of  these  variations  is  to  keep  the  pupils  from 
memorizing  the  order.  It  would  aid  the  pupils  if  the  music  staves  on  which 
they  wrote  were  crossed  bv  vertical  lines  dividing  them  into  ten  equal  spaces. 
This  would  help  very  much  also  in  correcting  the  exercises. 


Questions  and  Answers 
for 

Speed  Exercises  in  Notation 


G  Clef 

Locate  following  pitches  —  Use  whole  note  for  answer 


.    Gl        Dh       El        A          C          Eh       Fl         B         Dl         Fh 

U 

Iff                               °                                                           "      ° 

€(T)        Q                                                                  V* 

JJ 

C          Dl        Gh         B          Fl         A 

f\                                                       O 

Dh        Fh         C          El 

|9 

/L       "                                                  r» 

^f 

rm                                         o                      o 

Locate  key  note  in  major  when  signature  is 

rt3|t       2b        lit     notforb     4tf       3b       2# 


II 


yL 

Lj  __ 

^  \ 

ffn    <r* 

Cs 

Q 

-t  

?  n 

—  e  — 

-Vf  ' 

1  —  e  —  1 

-^e  —  ' 

—  o  — 

ft  » 

... 

ko=^ 

Q  

—  e  — 

•     o 

o 

=££  

B 

Locate  key  note  in  minor  when   signature  is 

/}3b      2j|        lb        4  |t       2b       3  |t        lit        4b     no  $  orb 


III 


^L        \F 

__ 

»«* 

^* 

B 

—  o  — 

«. 

*"• 

-tf—  —  ' 

o 

*•*  —  ' 

—  e  —  1 

14  1 

n 


4b     no||orb     2|t 


A.    R** 

Q 

c^ 

IfP    r  

go  — 

i  —  O  — 

«=&    . 

—  a  — 

—  &  

Place  signature   for   following"  major  keys 
F       G         Et>         D         B\>         E  D 


4 


A\> 


G 

* 


it 


Bl> 


E 


D 


t?::      ^3 


h-  i^n  i  M 


S 


F         Bb 

^ 


Place  signature  for  the  following-  minor  keys 
F          G          E        D        B          CtJ          G 


*£ 


B 


D          C# 


E          G 


B 


Locate    in   key  of 

mh       1         rh       r  1        f  h        t         ml        d 


si        f  1 


VI 


A_ 

«J 

-ffe  

O    . 

—  O  

-M*  1 

o 

t  —  o  —  1 

Sh        mh         r  h 


si          t         ml         rh        fl 


/L 

1  o 

fff^      *• 

—  r*  . 

tl      Ih       r 1 


th        m        dl        11        rh 


VII 


/L  h     ' 

—  ^^  .... 

—  o  — 

».» 

•T  —  —  °~^ 

'    *•*    •  ' 

u 

d  h      rl 


tl          Ih        ll         th         m        rh         dl 


A_   b 

o 

—  *y  

fin  " 

—  f»  — 

«J 

m       Ih        r         sh        f         tl        m        dh       si        dl 


VIII 

-Jf- 

*- 

D 

Q 

-o  — 

*j 

—  u  — 

—  o  — 

c*  

-*$- 

D 

y 

ll 

Ih 

tl 

r 

Si 

t 
—  ^ 

1 

a  —  i 

f 

n 

dl 

ll 

sh 
—  e  — 

j 

; 

mh 

ll 

r 

U 

Sh 

> 
fl 

t 

ml 

-e  — 

d 

-e  —  I 

Ih 

si 

IE 

—  —  ' 

« 

^ 

>  —  ' 

-•  o 

0 

1    u     1 

~Jc  '  [1 

ml 

Ih 

t 

sh 

1 

I 

fh 

si 

d 

fl 

mh 
—  e  — 

-fe-2  

—  "— 

—  e— 

u 

—  *»  — 

—  «  — 

mh       1         rl        rh       fl 


ml       dl 


fh 


Xff 

T 

^^ 

55 

HGP 

r 

: 

^* 

Q 

0 

-tf- 
i 

dh 
—  o— 

mh 
—  »- 

—  » 

a  — 

fl 

d 

I 

{ 

—  —  i 

t 

n  

r  1 

fh 
o 

ml 

J 

ml 

1 

i 

—  o 

•h 

t 

0 

1 


f 

\ 

i 

ti 

i 

mh 

r> 

-o  —  1 

dh 

s 

—  o  — 

r  1 

jf  i 

f 

^_^ 

«j 

VT       A.  U 

|^g 

^j 

Al     -(ft-2 

) 

Q 

«J 

i 

3 

mh       1 


rl 


tl        ml       dl         tl        rh 


3sa> 

• 

a 

Q 

v>  — 

•*  

0 

—  o  — 

mj                                                                                                                                                             O                                               v 

^U   ft                    ~                                                       r» 

J/**liTt 

n 

VTT      A.  U        c> 

^^.^ 

o 

All    (m  r 

<-» 

o 

si 


11         fh        fl         th        si        tl 


11 


331 


O 


XE 


XIII 


m       11 


sh       si       th       fh       t 1        f  1 


o- 


-o^ 


S  1 


th     f  1 


t  1        Ih         11         m         si 


xc 


3E 


m 


1        1         rldh        f         tlmhdl        s        rh 


vrtr    Jf  nf  fr 

—  °  — 

—  u  — 

e> 

XIV  fo  ft  *   o 

—  cr— 

i  °  ! 

1  —  ci  —  ' 

1  —  o  —  1 

mh        1          rh        tl          f          thmldh          s         rl 


Obp*   °    | 

u 

—  €>  1 

^~o  —  1 

—  a  —  i 

-4-°  

ml 

O 

**         1 

—  &  — 

L_U  1 

Put  key  signature  when 
Do  is   on 
2ndl   3rds    1st  1     1st  s    4th  1     l>3rdl    I?  4th  s  2nd  s    s  below!?  2nd  s 

' 


XV 


4th  s      b  1st  1     2nd  s     5th  1     4th  1    \>  3rd  1    b  2nd  s   s  above  2nd  s    1st  s 


t.  i     u 


Re  is  on 

2ndl    3rds    Istl    Ists     4th  1    3rd  1    5th  1     2nds 


l?3rdl 


1st  1    3rd  s    s  above    3rd  1    H  1st  s     b  3rd  1    #  5th  1     2nd  s    1st  s      4th  s 


bi 


i. 


Mi  is  on 

2ndl    3rds    Istl    jtlsts    4thl    3rd  1 


2nds  sbelow 


* 


n: 


^3rds    3rdl    H5thl    sbelow   2ndl    2nds    4th  s    ^  3rd  s     #  s  above    3rd  s 

1-Hr 


fc 1 & 


Fa  is  on 

2ndl  3rds    blstl    bs  below  4th  1   b3rdl  2nds  b 2nd  s  Ists  s  above 


XVIII 


i,"    I  i"i>   I 


t>4thl     b3rdl    s  below  b2nds  2nd  1    2nds    \>s  below  3rd  s  4th  1    b3rdl 

*£ 


j;,fr      |    u    gpffi 
^^=:^^=3 


Sol  is  on 
2ndl    3rds     1st  1     Ists    4th  1    b3rdl    blstl    2nds    Ists    3rdl 


XIX 


3rds    b3rdl     2nds    s  below    b4ths    3rd  1     3rds    4th  s    2nds    blstl 


U 


La  is  on 
2ndl  |t3rds  Istl     Ists    4thl   3rd  1     ItSthl    3rds    Ulsts      2ndl 


XX 


3rdl     5th  1    s  below     Ulsts     4th  s    3rds   s  above    It  3rd  s     Istl    Ists 

*= 


I?,     i    .; 


Ti   is  on 

2ndl    H3rds    Istl    Itlsts    4thl  3rdl  H5thl    2nds  H4thl   |t2ndl 


K 


XXI 


1st  1  It  3rd  s    s  above    2nd  s  It  s  above  |t  s  below  s  below  H  1st  s  4th  s    |t  3rd  s 


F  Clef 

Locate   following  pitches 

Fh       C         Gl         E         Al         D         Bl        Ah       Fl        Gh 


T     4):    o 

—  a  — 

—  °  —  1 

1  —  **  —  1 

I     „/ 

—  0  

1  —  ~  1 

D        1 

—  

—  e  — 

'  —  «i  —  ' 

Bh         E 


D         Gh         C          Ah        Bl        Fh       Gl 


J3p 

D 

—  »  

Q 

-J-  

—  

CT  

1  

—  U  

—  o  — 

A  1 

Locate   key  note  in   major  when  signature    is 
3#       2b       it     notorb    4#       3b       2t 


ill 


II 


*~  •• 

. 

C} 

n  |^ 

^^ 

s 
tl 

po  — 

*^_ 

n 

—  5?  — 

- 

>u 

^^—  1 

4b        Ib        3b        it      nojforb     3|l        2b- 


-44;  a  

—  e  — 

7U 



5~  

ro  — 

1  A  1 

u  

—  o  — 

[    PO  — 

7M 

Locate  key  note  in  minor  when  signature  is 

3i>      2ft        lb        4rt       2b       3^        111        4b     nollorb     ib 


III 


-Hi  

—  T  

—  J,  — 

—  o  — 

5~  "  — 

—  e  — 

ft" 

...  £*  ... 

u.. 

—  o  — 

Ib 


it        4b     notorb     2#        3b         2b 


•4Jhs 

-|o~ 

u 

«     1 

—  e  — 

1      °       1 

u      1 

ft*"" 

—  o  — 

—  e  — 

"      1 

Place  signatures  for  the  following  major  keys 
F        G         Eb         D         Bb         E         D  A 


G         Ab 


iv  SE 


Bb         A  F  E  D          Eb          Ab          F        Bb         A 

J?    I  fyr~  _  lu_I  ML!  ^_l  J1]    I  iJ;i!»   I  t.    I  tJ;  I  M 

P       I    F— t— ^ — f-4H*-+- ft     I   b  fi     1   bjr^      b     I  b 


Place  signatures  for  the   following"  minor  keys 
F  C         E         D         B         C|J        G        F 


v  mm 

1"^ 

3 

5 

i 

W 

4t= 

T¥it  I  b 

T— 

§ 

n 

* 

| 

7  — 

B 

4).   tL 

( 

•< 

r- 



- 

E 

C 

—  =$ 

;tt 
*jj=F 

C  E 

^2-n^ 

C 

—  — 

1 

B 

] 

' 
1 

F 

—  /  —  p*t  — 

>  — 

-ty- 

-4 

TT  1- 

4 

^  —  - 

Locate  in  key  of 

m         ll         r         si        fh        tl         m          d         sh        fl 


TTT         *}•        O 

&  

0 

M  

VI       •  7 

0  

—  &  — 

0 

5 

O 

Ihsl          m         th 


sh          d          t  1          m          f  h 


4V 

D 

Q 

-J.  

—  _*x.,  ., 

Q  ! 

—  *J  

—  O  — 

Locate  in  key  of 

t         rl          1         fi         t 


mh      dl         1          rh 


Z.  ,       o 

Q 

E 

£* 

tj 

1         dh        rl          s            t          ml'fh        dl         rhml 

n 

4V 

4) 

/•  i      o 

o 

-7  l>     ° 

—  c^  

—  p  

«j 

«J 

Locate  in  key  of 

ml        1         rh        s 


th        f        m  h      dh        s         rl 


XlL 


331 


VIII  T7-^^ 


331 


1 1         rh        rl         t  h 


d  1 


m  1 


o 


3CT 


Locate  in  key  of 

m       ll         r         si         f         t  1        m        dh       1 1        sh 


IX 


4V 

.,  

—  a  — 

1  

—  e  — 

^~\ 

>  

'    o     : 

" 

u 

1       0        1 

1  —  e  —  ' 

dl        Ih        si        th          f          Ih         m         sh        tl 


o 


Locate  in  key  of 

mh      1 1         r        f  1         t        ml 


si       f  h 


4V  n  .      o 

0 

0 

—  0  

_ZJ!)j  

—  e  — 

1  —  e  —  1 

" 

o 

0 

Ih         d         mhfl         fh        sh         t  fhshml 


f'  ffU 

^^ 

—  »  

./  rtt 

^^ 

»J 

Locate  in  key  of 

ml        1         rh        t         flmhd        shrl         1 


XI 


""  tm    1 

*• 

—  o  — 

«>  

—  e  — 

U  

—  o  — 

*3 

\>     o    1 

1  U  1 

o 

mh       d         r 1         si         f h         t          ml        rh        f 1         sh 


—                                                                             r» 

4V 

/'  1 

> 

^j 

^_ 

h 

^  .^ 

\j 

> 

*j 

o 

O                                                                          ** 

Locate  in  key  of 


XII 


m 

Ih 

r  1 

s 
o 

dl 

th 

tl 

m 

dh 

1  —  e  —  1 

s 

u 

_^L  —  $_  —  JJ  — 

—  e  — 

—  a  — 

f*.- 

—  M  — 

dl       rh        ll 


th        r  1          f    "     ll         Ih        t  1 


»y.  p  ff  

0        | 

—  e  — 

^      fr  n  — 

O 

—  e  — 

u 

I  —  o  — 

Locate  in  key  of 

m       11       rh        s 


dh       f         th       m       dl 


VTTT     *1"  i  ;   U    .. 

—  0  — 

—  5L_ 

—  M  

O 

A.  ill      X    K_IE      ** 

dh       r  1 

—  o  — 

Ih 

f 

tl 

r 

li        1 

f 

Ih 

th 

0 


^ 


e 


0 


~0" 


10 


Locate  in  key  of 

mh      1        rh 


rl       f  1        d        t       ml      s  1       r  1 


V  WB  

*J 

—  o  — 

•^    ft  *  

U 

f>  — 

—  o  — 

ml         1          rl         t          fh        fl        mh        d         si         sh 


•*i;ttj 

—  »  — 

«  

U 

±E:3 

Tt  

o      1 

0 

Q         1 

—  e  — 

.  Put  key  signature  when 
Do  is  on 

l?2nd    3rds    1st  1     blsts     4th  1    3rd  1    4th  s   2nds    s  below    1st  s 


zv^ 


V  3rd  s     3rd  1    4th  1     \>  5th  1     s  above    1st  1     5th  1     3rd  s     2nd  s   b  3rd  s 


Re  is  on 
2nds    3rds    1st  1    1st  s   4th  1    3rd  1    5th  1    2nd  s    #  s  below  4th  s 


H    U 


3rd  s     s  above    1st  s     b2ndl    s  below    ^4thl    1st  1    3rd  s    2nd  s  2nd  1 


tt 


tt 


Mi  is   on 
2ndl3rds   Istl    1st  s 


5th  1    #2nds  s  above  2nd  s 


XVII  ^E 


5 


BE 


* 


3rds    3rd  1     S  2nd  s  tf  s  below  4th  s    fllstl     2nd  s    2nd  1    3rd  1     it  4th  1 


11 


Fa  is   on 

b2nd    t>3rds   Istl   s  below  b3rdl    2nds  1st  s    bs  above  b5thl  3rd  1 


xviii  y  u  i  ij'  i  * 


4th  s    I?  3rd  1     2nd  s    b  1st  s     3rd  1    \>  3rd  s     5th  1      4th  1     \>  2nd  1  b  3rd  1 


XIX  ^ 


s  above     3rd  1    2nd  s    5th  1     b  s  above  3rd  s     4th  1    b  3rd  s    4th  s     3rd  1 


La  is  on 
2nd  1  3rd  s    Istl    Ists     4th  1     3rd  1    JUthl    2nd  s    #2nds    5th  1 


XX  S 


3rdl    2nds     s  above     s  below    3rd  s   4th  s     tflstl      3rd  1     it2nds    2nd  1 


: 


Ti  is  on 
2ndl    3rds    fllstl    Ists 


3rd  1    5th  1     ^2nds4ths    ||3rdl 


XXI  "        It 


Ists     #s  below  Istl     ft  4th  s    s  above    $  3rd  1    3rd  s    3rd  1     #2nds    4th  s 


This  book  is  DUE  on  the  last  date  stamped  below 


APR  1  7  19S21 


Form  L-9-35»i-8,'28 


F23tl 

V       1 


>rth  - 


•nhrase   book 


-iiTY   Of  C 

AT 

LOS  ANGELES 
T.TRRARY 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


QUARTER  HKS 

FEB  9    1973 


JU 

AUG 


QUARTER  L 

TMnti   •  v^-k 


Iff  1  1 


FormL9-39,050-8,'65(F6234s8)4939 


PAMPHLET  BINDER 

Syrocuse.  N.  Y. 
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A    001  242  640    9 


MUSIC 
LIBRARY" 


v.l 


